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the  ^rt  Institute  of  Chicago 

THE  piD  dDLLEdTIOpI,  •:•  •:•  • 

•:•  •:•  WA^HBU^NE  dOLLEdTIOW,  \c. 

February,  1888. 


•  • 


Library  '  / 

OF  THE 

UNIVERSITY  OF  ILLINOIS 

CATALOGUE 


OF  THE 


REID  COLLECTION 


DRAWINGS  AND  ETCHINGS 

EXHIBITED  BY 


T he  ^rt  Jnstitute  of  Chicago, 


TOGETHER  WITH  OTHER 


PERMANENT  AND  LOAN  COLLECTIONS. 


CHICAGO  : 

Michigan  Avenue,  Cor.  Van  Buren  Street, 

1888. 


j-lbiu.'tt 


n 

<0 


OFFICERS. 


1887-8. 


C.  L.  Hutchinson, 

Pres’t. 


Edson  Keith, 

Vice-Pres’t. 


L.  J.  Gage, 

Treasurer. 


a* 

c* 


N.  H.  Carpenter, 

Secretary. 

W.  M.  R.  French,  Director. 


EXECUTIVE  COMMITTEE. 


Xo 

■^o 


C.  L.  Hutchinson, 
Edson  Keith, 

J.  H.  Dole, 


Jos.  M.  Rogers, 
C.  D.  Hamill, 
John  C.  Black, 


W.  T.  Baker. 


TRUSTEES. 


C.  L.  Hutchinson, 

D.  W.  Irwin, 

John  C.  Black, 

E.  W.  Blatchford, 
W.  F.  Blair, 

Jos.  M.  Rogers, 

W.  T.  Baker, 

N.  K.  Fairbank, 

O.  S.  A.  Sprague, 
Wirt  D.  Walker, 


: 


H.  N.  Hibbard, 
A.  C.  Bartlett, 
G.  E.  Adams, 

S.  M.  Nickerson, 
L.  Z.  Leiter, 
Edson  Keith, 
Marshall  Field, 
G.  N.  Culver, 

C.  D.  Hamill, 

J.  H.  Dole, 

Henry  Field. 


DESIGNATION  OF  GALLERIES 


GROUND 

- 

FLOOR. 


i 


FIRST 

FLOOR. 


SECOND 

- 

FLOOR. 


SCHOOL 

BUILDING. 


Room  I,  -  -  #  *  -  Collection  of  Paintings. 

Room  II,  Elbridge  G.  Hall  Collection  of  Sculpture : 

•  Egyptian  and  Assyrian. 

Room  III,  -  -  -  -  Same:  Early  Greek, 

c 

Room  IY.  -  -  Autotypes  and  Century  Drawings. 

Room  V, . Lecture  Room. 


Room  VI,  Elbridge  G.  Hall  Collection  of  Sculpture : 

Greek  and  Roman. 

Room  YII,  -  Same:  Renaissance  and  Modern. 
Room  YIII,  -  -  E.  B.Washburne  Collection. 

Room  IX,  -  -  Loan  Collection  of  Paintings. 
Room  X,  Loan  Collection  of  Paintings. 

Room  XI,  -  -  Loan  Collection  of  Paintings. 


Room  XII,  (Hall)  -  Loan  Collection  of  Paintings. 
Room  XIII,  -  Chicago  Society  of  Decorative  Art. 
Room  XIY,  •  Chicago  Society  of  Decorative  Art. 
Room  XY,  ....  Reid  Collection. 

Room  XYI,  ....  Reid  Collection. 
Room  XYII,  -  -  -  Collection  of  Paintings. 


Room  XVIII, . Library. 

Room  XIX,  ...  -  Office  of  the  Director. 

Rooms  XX,  XXI,  XXII,  XXIII,  XXIY,  XXV,  XXVI, 
XXVII  and  XXVIII— School  Rooms. 


THE  ART  INSTITUTE  OF  CHICAGO. 

- - 

The  Art  Institute  maintains  a  permanent  exhibition  open  every 
week-day  from  9  to  5  o’clock.  It  is  free  to  members  and  their 
families  at  all  times,  and  free  to  all  upon  Saturdays. 

All  friends  of  The  Art  Institute  are  invited  to  become  members. 
Annual  Members  pay  a  fee  of  ten  dollars  for  the  year.  Governing 
Members  pay  ten  dollars  a  year,  and  an  initiation  fee  of  one  hundred 
dollars.  All  members  are  entitled,  with  their  families  and  visiting 
friends,  to  admission  to  all  exhibitions,  receptions  and  public  lectures 
and  entertainments  of  the  Institute. 

February  15,  1888. 


i 


The  Reid  Collection 

of 

ENGRAVINGS  AND  DRAWINGS. 


This  collection  was  made  by  the  late  George  W.  Reid, 
of  London,  the  Keeper  of  the  Prints  in  the  British  Museum. 
It  comprises  about  one  hundred  Selected  Prints,  executed 
by  the  greatest  masters  of  engraving,  many  of  them  very 
early  and  rare  states,  and  about  one  hundred  and  seventy - 
five  Original  Drawings,  in  crayon,  pen,  red  chalk,  bistre, 

etc.,  by  masters  of  the  Italian,  Dutch,  Spanish  and  French 
schools.  Correggio,  Annibale  Caracci,  Murillo,  Rubens, 
Rembrandt,  Boucher,  and  many  others  of  the  most  dis¬ 
tinguished  artists  are  represented. 

February  11,  1888. 


CATALOGUE 

OF 

One  Hundred  Selected  Print5. 

Collected  by  Geo.  W.  Reid,  Esq.,  Former  Keeper  of  the  Prints 

in  the  British  Museum. 


1.  ALDEGREYER,  Heinrich.  1502 — 1562.  Adam  with  the  for¬ 
bidden  fruit.  (Bartsch,  11).  Brilliant  impression. 

2.  The  Nativity.  (B.  39.)  Very  tine. 

8.  Jason  and  Medea,  1529.  (B.  65).  Very  tine. 

4.  ALTDORFER,  Albrecht.  1488 — 1538.  The  Repose  in  Egypt 

(B.  5.)  Brilliant  impression  in  perfect  preservation. 

5.  ANDREANI,  Andrea.  1550 — 1623.  Jesus  Christ  curing  the 

the  Lepers;  after  Parmigiano.  (B.  39.  15).  Second 
state. 

6.  Christ  and  the  Paralytic  Man ;  after  Parmigiano.  (B.38.14). 
Fine  state  with  no  inscription. 

7.  BEHAM,  Barthbl.  1496 — 1540.  Judith  with  the  head  of  Holo- 

fernes.  (B,  41).  Very  tine  and  rare. 

8.  BEHAM,  Hans  Sebald.  1500—1550.  Female  satyr  playing 

the  bagpipes.  (B.  110).  Very  fine. 

9.  The  two  fools..  (B.  213).  Brilliant;  in  perfect  preservation. 

10.  BONASONE,  Giulio.  born  1498.  Noah  leaving  the  ark; 
after  Raphael.  (B.  4).  Superb  impression. 

11.  The  Rape  of  Europa;  after  Raphael.  (B.  109).  Brilliant 
impression  in  perfect  condition. 

12.  BOTH,  Jan.  1610 — 1645.  “ Le  Pont  de  Pierre”  (B. 5).  First 
state  before  the  name  of  the  artist  and  the  number. 

13.  “  Le  Muleteer .”  (B.  6).  First  state  before  the  name  of 

the  artist  and  the  number. 

14.  “  Le  deux  Vaclies  an  bord  de  L'eau .”  (B.  8).  First 

state  before  the  name  of  the  artist  and  the  number. 

15.  “  Le  Pont  de  Bois .”  (B.  10).  First  state  before  the 

name  of  the  artist  and  the  number 


8 


THE  ART  INSTITUTE 


16.  BRAMER,  Leonard,  born  1596.  A  casket,  cup  and  bottle, 
coins,  cards,  etc.,  spread  on  a  table.  Early  undescribed 
state. 

17  BRESCIA,  Giovanni  Antonio  da.  about  1480.  Samson  seized 

by  the  Philistines.  (B.  2). 

18  CARACCI,  Annibale.  1560 — 1622.  Christ  crowned  with 

thorns.  (B.  3).  Very  fine  impression. 

19.  “  Le  Christ  de  Caprarole ”  (B.  4).  Very  fine  with  margin 

20.  CARPI,  Ugo  Da.  about  1510.  David  cutting  off  the  head  of 
Goliath;  after  Raphael.  (B.  8).  First  state  before  letters. 
Very  rare. 

21.  The  Miraculous  Draught  of  Fishes;  after  Raphael. 

(B.  37.  13).  First  state,  fine  and  rare. 

22.  Ananias  struck  dead.  After  Raphael.  (B.46. 27).  First 

state,  but  the  inscription  cut  away.  Very  fine. 

23.  CRANCH,  Lukas.  1472 — 1553.  Full  length  portrait  of  Philip 

Melancthon.  Woodcut.  (B.  153).  Fine. 

24.  DA  VICENZA,  Nicoletto  Boldini.  about  1650.  The  Ado¬ 

ration  of  the  Magi.  In-Chiar-oscuro.  (B.  29.  2).  First 
state,  very  rare. 

25.  The  Adoration  of  the  Magi.  (B.  29.  2).  Second  state, 
very  fine. 

26.  DE  MAITRE  ATT.  1496 — 1541.  Cupid  and  Psyche.  (B.  70). 

Brilliant  proof  before  inscription. 

27.  DURER,  Albrecht.  1471 — 1528.  The  Nativity.  (B.  2).  Very 

fine ;  in  perfect  preservation,  with  fair  margin. 

28.  The  Madonna  on  the  Crescent,  1508.  (B.  31).  Unde¬ 

scribed  first  state  before  the  halo  was  extended  to  the 
shoulders  of  the  Madonna.  Presque  unique.  Priced 
in  printed  catalogue  of  1880  at  £105. 

29.  The  Madonna  seated  embracing  the  Infant  Jesus. 

(B.  35).  Brilliant  impression  with  slight  margin. 

30.  The  Madonna  seated  near  a  wall.  1514.  (B.  40).  Brilliant 

impression  in  perfect  preservation. 

31.  The  Ploly  Family.  An  etching.  (B.  43).  Rare  and  very 

fine.  Purchased  at  the  Heywood  Sale  against  Danlos 
of  Paris  for  £83. 

32.  Saint  Christopher.  (B.  52).  Very  fine;  from  the  collec¬ 

tion  of  William  Sharp. 

33.  Saint  George  standing.  (B.  53). 


OF  CHICAGO. 


9 


34.  DURER,  Albrecht.  1471 — 1528.  “ La  Famille  du  Satyr” 

(B.  69).  Brilliant  impression. 

35.  The  Rape  of  Aymone.  (B.  71).  Very  fine  impression. 

36.  “  Peasants  dancing  Le  Branle  (B.  90).  Brilliant  im¬ 

pression.  From  the  collection  of  John  St.  Aubin  and 
Firmin  Didot. 

37.  The  Player  upon  the  Bagpipes.  (B.  91).  Brilliant  im¬ 

pression  in  perfect  preservation. 

38.  The  Cannon.  An  etching  upon  iron.  (B.  99).  Very  fine 

impression. 

39.  DUSART,  Cornelius,  1665 — 1701.  The  Violin  Player.  (B.  15). 
Very  fine  impression. 

40.  The  violin  player.  (B.  15).  Counter  proof  of  the  first 
state. 

41.  VANDYCK,  Sir  Anthony.  1599 — 1641.  Titian  and  his  mis¬ 

tress.  Fourth  state  with  the  address  “  a  bon  enfant 
excu .” 

42.  FAITHORNE,  William,  about  1691.  Portrait  of  Juan  de 

Castro.  Brilliant  impression  with  good  margin. 

43.  GAY  WOOD,  Richard,  about  1660.  Portrait  of  Elizabeth 

Harvey.  Brilliant  impression  in  matchless  condition. 

44.  GHEYN,  Jacob  de.  1565 — 1615.  Portrait  of  Philippe  de 

Marnix  “  Seigneur  de  Mont  Saint  Aldegonde .”  (  B. 
122).  (Passavant,  Vol.  Ill,  P.  11S).  Very  fine  impression. 

45.  GOLTZIUS,  Heinrich.  1558 — 1617.  Portrait;  bust  in  an 

oval,  inscribed  “  Gottverzagt.''  (B.  206).  Very  fine 
impression. 

46.  GOUDT,  Heinrich  Graf.  v.  about  1600.  Jupiter  and 

Hermes.  Brilliant  impression. 

47.  GOURMONT,  Jean  de.  about  1557.  The  marriage  of  Saint 

Catherine.  (Dumesnil  8).  Very  fine  impression. 

48.  GOYA,  Francesco.  1748 — 1828.  “  El  Garotte Printed  in 

grey.  One  of  the  rarest  of  this  Master’s  work,  not  in 
the  collection  of  the  British  Museum.  Very  fine  im¬ 
pression  with  large  margin  and  rough  edges. 


IO 


THE  ART  INSTITUTE 


49.  HOLLAR,  Wenzel.  1607 — 1677.  Interior  of  the  eastern 
portion  of  St.  Paul’s  Church.  (Parthey  1827). 

50.  The  Muffs.  One  of  his  most  esteemed  subjects.  (Parthey 

1851).  Very  Fine. 

51.  Landscape.  “  The  Four  Windmills.”  After  Breughel. 

(Parthey  1215).  Brilliant  impression  from  the  Esdaile 
Collection.  In  perfect  preservation. 

52.  JARDIN,  Karel  du.  1825 — 1678.  Landscape.  “  Les  arbres 
d  ratines  decouvertes .”  (B.  17).  Early  impression. 

Very  fine. 

53.  The  Frontispiece.  (B.  1).  Proof  before  the  number,  and 

before  the  corrosion  on  the  face  of  the  rock.  Very 
tine. 

54.  The  two  Donkeys.  (B.  6).  Before  the  corrosion  in  the 

sky.  The  numbers  blocked  out  in  printing. 

55.  LEYDEN,  Lucas  Van.  1494 — 1533.  The  Temptation  of 

Adam.  (B.  3).  Fine  impression. 

56.  Samson  and  Delilah.  (B.  23).  Early  impression.  Marked 

in  the  Printed  Catalogue  of  1880  at  £84. 

57.  The  Raising  of  Lazarus.  (B.  42).  Very  tine  impression 

with  margin,  and  in  perfect  preservation.  Marked  in 
the  Printed  Catalogue  of  1880  at  £84. 

58.  Saint  Peter  and  Saint  Paul,  seated.  (B.  106).  Very  tine 

impression. 

59.  Saint  John.  (B.  110)  Very  tine  impression  of  the  second 

state. 

60.  LORCH,  Melchior.  1527 — 1586.  Portrait  of  Albrecht  Durer 

1550.  (B.  10).  Brilliant  impression  with  large  margin. 

61.  MANTEGNA,  Andrea.  1431 — 1506.  One  of  the  Triumphs 

of  Julius  Csesar.  The  Senate  of  Rome  accompanying 
a  triumph.  (11).  From  the  Esdaile  Collection. 

62.  One  of  the  Triumphs  of  Julius  Csesar.  Soldiers  bear¬ 
ing  trophies;  with  the  pilaster.  (B.  14). 

63.  MONTAGNA,  Benedetto.  1480 — 1523.  Christ’s  Agony  on 
the  Mount.  (B.  4).  First  state  unknown  to  Bartsch 
and  Ortley,  before  the  dark  hatchings  on  the  tablet. 
(Passavant  Vol.  V,  p.  154.)  Brilliant  impression. 


OF  CHICAGO. 


I  I 


64.  OSTADE,  Adrian  van.  1617 — 1671.  A  man  playing  the 

hurdy  gurdy.  (B.  8).  Brilliant  impression  of  the  first 
state. 

65.  A  man  conversing  with  a  woman.  (B.  37).  First  state,  before 

the  marginal  line  was  strengthened.  From  the  Du- 
mesnil  Collection. 

66.  The  Great  Ball  “  La  Dance  au  Cabaret  ”  (B.  49).  Fine 

early  impression. 

67.  Two  women  gossiping.  (B.  40).  First  state,  before  the 

marginal  line  was  strengthened.  From  the  collection 
of  Robert  Dumesnil. 

68.  PASS,  Guillaume  Van.  about  1560.  James  I  and  his  Family 

(See  Franken,  page  119,  No.  693).^  Very  fine. 

69.  PENCZ,  George.  1500 — 1550.  Samson  and  Delilah,  (B.  28). 

70.  RAIMONDI,  Marc  Antonio.  1487—1539.  Martha  and  Mary 

ascending  the  steps  of  the  Temple ;  after  Raphael. 
Entitled  “  Notre  Dame  de  VE scalier ”  (B.  45).  Very 

fine.  In  perfect  condition. 

71.  The  Madonna  and  Child  in  the  Clouds.  (B.  47).  Un¬ 

described  first  state.  Unique.  Marked  in  Printed 
Catalogue  of  1880  at  £105. 

72.  Saint  Cecilia.  (B.  116).  Undoubtedly  the  finest  impres¬ 

sion  known,  both  in  regard  to  state  and  condition ;  with 
good  margin.  Priced  in  Printed  Catalogue  of  1880  at 
£183.15.0. 

73.  Saint  Margaret.  (B.  181).  Very  rare  and  in  beautiful 

condition.  Marked  in  Printed  Catalogue  of  1880  at 
£52. 

74.  The  Rape  of  Helen.  (B.  209).  Brilliant  impression  in 

perfect  preservation.  Priced  in  the  printed  Catalogue 
of  1880  at  £157.10.0. 

75.  Mount  Parnassus.  (B.  247).  Brilliant  impression  in  per¬ 

fect  preservation.  Marked  in  the  Printed  Catalogue  of 
1880  at  £180. 

76.  Venus  appearing  to  gEneas.  In  the  engraver’s  early 

manner.  (B.  288).  Very  fine  impression. 

77.  Neptune  appeasing  the  storm.  (B.  352)  Brilliant  im¬ 

pression  in  the  first  state  with  margin.  Marked  in 
the  Printed  Catalogue  of  1880  at  £157.10. 


12 


THE  ART  INSTITUTE 


78.  RAIMONDI,  Marc  Antonio.  1487 — 1539.  The  Woman  with 
the  Sponges.  (B.  373).  Brilliant  impression  of  one  of  the 
rarest  of  the  Artist’s  works.  Marked  in  the  Printed 
Catalogue  of  1880  £63. 

79.  uLes  Grimpeurs .”  (B.  487).  Earl}'-  impression  delicately 
printed.  Marked  £84  in  the  Printed  Catalogue  of  1880. 

80.  RAVENNA  Marco  da.  about  1496.  A  Battle  Piece.  (B. 

420).  Brilliant  impression  from  the  Brentano  Collection. 

81.  RIBERA,  called  Spagnodetto.  1588 — 1656.  St.  Jerome 

praying.  (B.  4).  Very  fine  and  rare  impression  before 
the  address. 

82.  REMBRANDT  Van  RYN.  1607—1669.  Abraham  enter¬ 

taining  the  three  angels.  (W.  36).  Brilliant  impression 
full  of  burr  and  with  good  margin. 

83.  Abraham  and  his  son  Isaac.  (W.  38).  Fine  with  good 

margin. 

84.  Abraham’s  Sacrifice.  (W.  39).  Very  fine  with  good 

margin. 

85.  The  Circumcision.  (W.  52).  First  state,  with  the  white 

spaces  where  the  aqua-fortis  has  failed.  Fine  with 
slight  margin  in  perfect  preservation. 

86.  The  Flight  into  Egypt.  A  night  piece.  (W.  58).  An 

undescribed  early  state,  touched  on  with  bistre  by  the 
Artist  himself.  Marked  in  the  Printed  Catalogue  of 
1»80  at  £183.15.0. 

87.  The  Flight  into  Egypt.  The  Holy  Family  crossing  a 

rill.  (W.  60).  Brilliant  impression. 

88.  Christ  preaching — entitled  “  La  petite  tombe .”  (W.  71). 

Brilliant  state  of  an  early  impression. 

89.  The  Travelling  Musicians.  (W.  123).  Undescribed  state 

before  the  dry  point  work  on  the  woman’s  cap.  A 
little  of  the  wrork  cut  away  on  the  right. 

90.  A  Jew  with  a  high  cap.  (W.  135).  Very  fine  impression. 

91.  A  man  playing  at  cards.  (W.  137).  First  state.  Some 

white  spaces  are  in  the  plate,  at  the  top  to  the  right, 
from  the  failure  of  biting.  With  margin. 

92.  Two  beggars,  a  man  and  a  woman,  conversing.  (W.  161). 

Very  fine  with  margin. 

93.  Portrait  of  Rembrandt  with  a  scarf  round  his  neck.  (W- 

17).  Brilliant  impression. 


OF  CHICAGO. 


J3 


94.  REMBRANDT  Van  RYN.  1607—1669.  An  arched  Lands¬ 
cape,  with  an  Obelisk.  (W.  224).  Very  fine  second 
state  in  perfect  preservation. 

95.  An  Old  Man  with  a  large  beard,  lifting  his  hand  to  his 

cap.  (W.  360).  Very  fine  second  state  with  margin. 

96.  A  Young  Man  musing.  (W.  270).  Very  fine  impression 

with  large  margin. 

97.  Manasseh  Ben  Israel.  (W.  271).  Second  state.  Very 

fine  with  good  margin. 

98.  Portrait  of  Clement  de  Jonge.  (W.  274).  Fine  fifth 

state. 

99.  Jan  Lutma.  (W.  278).  Third  state,  very  fine,  with  mar¬ 

gin. 

100.  Uytenbogardus,  a  Dutch  Minister.  (W.  281).  Third  state 

in  octagonal  border  with  Latin  verses.  Fine  and  very 
scarce. 

101.  Bust  of  an  old  man  with  a  large  beard.  (W.  295).  Very 

fine  with  margin. 

102.  SPRINGINKLEE,  Hans.  The  Nativity,  a  woodcut.  (B.  51). 

Fine  impression. 

103.  SOLIS,  Virgilius.  about  1540.  Summer,  “  Somer .”  One  of 

the  set  of  the  Four  Seasons.  (B.  130).  Fine  impression. 

104.  Winter.  Another  of  the  set  of  the  Four  Seasons. 

(B.  132).  Very  fine  impression. 

105.  Frieze  with  bears,  1541.  Undescribed  by  Bartsch  or 

Passavant.  Fine,  in  perfect  preservation. 

106.  SWANEVELT,  Herman  van.  1620—1690.  Landscape  with 
Waterfall.  (B.  80).  Fine  early  impression. 

107.  Landscape,  uLa  Porte  de  Ville."  (B.  92).  Very  fine  early 
impression. 

108.  TRENTO,  Antonio  da.  about  1530.  The  Martyrdom  of 

St.  Peter  and  St.  Paul,  after  Parmigiano.  (B.  79,28) 
First  state  printed  in  three  colors. 

109.  WIER1X,  Anthony.  About  1550.  Portrait  of  Sir  Thomas 

More.  (Alvin,  No.  1987).  Very  fine. 

110.  WIERIX,  Hieronimus.  The  Madonna  standing  on  a  Cres¬ 

cent.  (Alvin.  No.  50).  Brilliant  impression. 


H 


THE  ART  INSTITUTE 


ORIGINAL  DRAWINGS 

BY 

GREAT  MASTERS  OF  VARIOUS  SCHOOLS. 


Collected  by  George  W.  Reid,  Esq.,  former  Keeper  of  the 
Prints  in  the  British  Museum. 


201.  ALLOR1,  Angiolo,  Called  II  Bronzino.  1535 — 1607. 

Study  for  the  full  length  figure  of  Eve.  Highly 
finished  in  black  chalk,  signed. 

202.  ALLEGRI,  Antonio,  Called  II  Correggio.  1494 — 1534. 

Figure  of  the  infant  St.  John  the  Baptist.  Highly 
finished  in  black  chalk  on  brown  paper,  signed. 

203.  A  female  head.  Red  and  black  chalk. 

204.  Study  for  the  fore-shortened  figure  of  a  man  from  the 

right  shoulder.  Red  chalk,  from  the  collection  of 
John  Talman. 

205.  ASSEN,Jan  yan.  1635 — 1695.  The  triumph  of  Faith  con¬ 

ducted  by  Love,  supported  by  the  emblems  of  St.  Mark 
and  St.  Luke,  the  bull  and  the  lion.  In  pen. 

206.  A VERCAMP,  Hendrik  yan.  about  1600.  Landscape.  Vil¬ 

lagers  assembled  near  a  cottage  bartering  for  fruit. 
The  church  and  village  seen  in  the  distance.  In  color. 

207.  BACKHUYSEN,  Ludolf.  1631 — 1709.  A  sea  piece,  vessels 

in  a  squall.  A  smack  lowering  her  sails  close  to  the 
shore  on  the  right.  Slight  sketch  in  pen  and  washed 
with  Indian  ink. 

208.  BALDELLI,  Nicolo.  After  Raffaello.  Pen,  washed  with 

Indian  ink. 

209.  BARBIERI,  Gioyanni  Francesco,  Called  Guercino.  1590 

— 1666.  “  Roman  Charity.”  Pen,  washed  with  bistre. 
210.  Portrait  of  Dante.  Pen,  washed  with  bistre. 


OF  CHICAGO. 


*5 


211.  BARBIERS,  Pietro.  1717 — 1780.  Landscape — an  overshot 
mill.  The  entrance  to  a  garden  seen  above  the  wheel, 
where  a  woman  is  seen  relieving  wayfarers.  In  black 
chalk  washed  with  Indian  ink. 

212.  Upright  landscape — a  roadway  winding  past  a  cottage 
on  the  left,  large  tree  in  the  foreground  taking  up 
nearly  the  whole  of  the  composition.  In  black  chalk 
and  Indian  ink. 

213.  BOLOGNESE  SCHOOL.  About  1600.  Trees  and  pool.  Pen 

washed  with  bistre. 

214.  BAROCCIO,  Federigo.  1528 — 1612.  The  virgin  and  child. 

Pen  on  grey  paper  washed  with  neutral  tint  and 
heightened  with  white.  From  the  collection  of 
William  Sharp. 

215.  Portrait  study  of  the  head  of  a  young  female.  In  cray¬ 

ons. 

216.  A  sheet  of  studies  on  both  sides  of  the  paper,  kneeling 

figures,  &c.  Pen  and  bistre. 

217.  Studies  of  an  arm,  a  knee  and  a  foot.  In  crayons  on 

grey  paper. 

218.  BARRETTINI,  Pietro,  Called  Da  Cortona.  1596 — 1669. 

A  female  saint  in  the  habit  of  a  Nun,  kneeling  to  a 
Pope.  Pen  and  red  chalk  washed  with  bistre — signed. 

219.  BASSANO,  Jacopo  Da  Ponte.  1510 — 1592.  Five  saints 

kneeling  in  prayer.  Black  chalk  on  grey  paper  height¬ 
ened  with  white. 

220.  BEHAM,  Bartel.  1496 — 1540.  Portrait  of  a  middle-aged 

man  wearing  a  small  divided  beard  and  flat  cap.  Three- 
quarter  face  turned  to  the  left.  The  figure  seen  to  the 
waist,  the  hand  of  another  person  placed  on  the  right 
shoulder.  Red  chalk. 

221.  BEHAM,  Hans  Sebald.  1500 — 1550.  Study  for  three  male 

figures,  one  apparently  reading  from  a  desk.  Pen  on 
paper  prepared  with  salmon  color.  Signed  1541. 

222.  BERCHAM,  Nicolas.  1624 — 1683.  Two  sheets  of  studies 

on  one  mount — one  of  cows,  the  other  of  sheep.  Black 
chalk  on  grey  paper  heightened  with  white. 


i6 


THE  ART  INSTITUTE 


228.  BISSCHOP,  Jan.  1646—1686.  After  Caravaggio.  Christ 
crowned  with  thorns.  In  bistre. 

224.  The  old  court-yard  of  a  hostelry  with  well  at  the  end  of 
the  wall.  Pen  and  bistre. 

225.  BLOEMART,  Abraham.  1564 — 1647.  Abraham  and  Hagar. 

The  composition  engraved  the  same  size  by  Jonas  San- 
redam.  With  the  engraving.  Black  and  red  chalk. 

226.  The  annunciation.  Pen  on  brown  paper  washed  with 
bistre  and  heightened  with  white. 

227.  BOCKSPERGER,  Hans.  1540 — 1592.  Christ’s  entry  into 

Jerusalem.  Drawn  with  the  brush  and  washed  with 
bistre — signed. 

228.  BOLOGNESE  SCHOOL.  About  1600.  An  assemblage  of 

saints  endeavoring  to  secure  the  blood  of  Christ,  some 
of  them  sucking  his  wounds.  Pen  washed  with  bistre. 

229.  BUONACCORSI,  Pietro,  Called  del  Vaga.  1500 — 1547. 

Landscape.  The  cup  found  in  Benjamin’s  sack.  Pen 
washed  with  Indian  ink. 

230.  BOUCHER,  Francois.  1704 — 1770.  Venus  attended  by 

Cupids  descending  from  her  chariot  on  clouds  to  the 
sleeping  Adonis.  Black  chalk  washed  with  bistre — 
signed  “  F.  Boucher  F.” 

231.  Venus  and  Cupids.  Black  chalk  on  grey  paper  height. 

ened  with  white. 

232.  Two  studies  of  Cupids.  Red  chalk  on  grey  paper. 

233.  Mars  and  Venus.  Pen  washed  with  bistre  on  toned 

paper  and  heightened  with  white. 

234.  Study  of  a  nude  female  figure  seated  on  a  bank.  Red 

chalk. 

235.  Interior  of  a  prison,  with  men  playing  some  game  on  the 

right.  Pen  washed  with  Indian  ink. 

236.  BAUDUIN,  Gasper.  Classical  Landscape  with  castle  in  the 
middle  distance.  Highly  finished  in  red  chalk. 
Signed. 


OF  CHICAGO. 


237.  GHISI,  Adamo.  1530—1570.  After  Michelangelo.  The 

Scourging  of  Christ.  Bistre  on  grey  paper,  heightened 
with  white.  Collections,  Richardson,  R.  Cosway, 
Pacetti,  Reynolds. 

238.  BRAUWER,  Adriaan.  1608 — 1640.  Interior  with  boors 

drinking.  Drawn  with  the  brush  and  sepia.  Another 
similar  design  on  the  reverse. 

239.  BREBIETTE,  Pierre.  Born  1596.  A  bacchanalian  scene 

with  fairies,  satyrs  and  nymphs.  Pen  washed  with  sepia. 
A  similar  subject,  pen  washed  with  bistre.  Two 
drawings  on  one  mount. 

240.  BREBIETTE,  Pierre,  born  1596.  Landscape.  A  woodland 

scene.  The  banks  of  a  stream.  Two  couples  seated 
nude  under  the  trees,  one  man  playing  the  flageolet 
Pen  washed  with  Indian  ink. 

241.  BRIL,  Paul.  1556 — 1626.  Landscape.  Two  mountain  tor¬ 

rents  falling  into  the  source  of  a  river.  Forest  scenery 
and  roads.  Signed,  1619.  Pen  and  bistre  with  a  little 
color. 

242.  CAMPAGNOLA,  Domenico.  1482—1550.  A  classical  land 

scape ;  a  river  scene  with  numerous  galleys.  In  pen 
and  bistre.  Signed. 

243.  CARACCI,  Annibale.  1560 — 1609.  Study  for  the  Adoration 

of  the  Shepherds.  Boldly  drawn  with  the  pen  on  the 
back  of  a  proof  of  his  well-known  etching  of  Christ 
Mocked. 

244.  CARACCI,  Ludovico.  1155 — 1619.  A  martydom  of  saints 

Black  and  red  chalk.  From  the  collection  of  Count 
Gelozzi. 

245.  Study  for  the  Siege  of  Troy.  Pen  washed  with  warm 
neutral  tint.  From  the  Donnadieu  Collection. 

246.  CHALON,  Christina.  1748 — 1808.  Landscape ;  cows  drink¬ 
ing  in  a  stream,  herdsmen  resting  near,  two  barrels  and 
a  short  ladder  in  the  foreground.  Highly  finished  in 
black  chalk.  Signed  and  dated  “  C.  L.  K.,  1779.” 


i8 


THE  ART  INSTITUTE 


247.  CHAMPAGNE,  Philip  de.  1602 — 1674.  Life-size  study  of 

the  head  of  a  young  man,  his  long  hair  falling  upon  his 
shoulders.  Red  chalk. 

248.  CORT,  Cornelius.  1530 — 1578.  Saint  George  slaying  the 

dragon.  Highly  finished  in  pen  and  sepia.  Signed  and 
dated. 

249.  CABULLERO.  Ornamental  design  for  the  frame  of  a  chim¬ 

ney  glass  forming  the  end  of  a  room.  Pen. 

250.  CAMBIASO  or  CANGIAGO.  1527—1585.  ^Eneas  carrying 

his  father  and  leading  his  son.  Pen  and  bistre. 

251.  CASTIGLIONE,  Giovanni  Benedetto.  1616 — 1670.  Head  of 

an  old  man  wearing  a  long  beard  and  shaggy  eyebrows. 

252.  The  Herdsman.  Drawn  with  the  brush  with  bistre  and 
neutral  tint.  From  the  collection  of  Richard  Udny  and 
William  Sharp. 

253.  CAT,  Jacob.  Roadway  on  the  outskirts  of  a  wood;  a  man¬ 

sion  on  the  right,  with  a  man  leading  a  horse  from  a 
stable.  Highly  fini-hed,  with  a  pen  and  Indian  ink. 

254.  CRAYER,  Caspar  de.  1582 — 1669.  The  Resurrection.  Pen 

washed  with  Indian  ink  and  neutral  tint  on  grey  paper. 
Signed.  From  the  collection  of  Count  de  Fries. 

255.  CUYP,  Albert.  1606 — 1683.  Study  of  a  spaniel,  seen  from 

behind,  with  his  head  turned  to  the  right.  Black  chalk 
on  grey  paper  heightened  wdth  white. 

256.  DIEST,  Jan  van.  1655 — 1704.  Landscape.  Two  trees  wdth 

trunks  entwining  in  the  foreground.  Black  chalk. 

257.  DOMENICHINO,  real  name  Domenico  Zampieri,  1581 — 

1641.  Study  of  the  half  length  figure  of  a  young  fe¬ 
male,  the  face  seen  in  profile  and  her  hands  clasped 
together  in  prayer.  The  head  of  a  second  female  is  seen 
above,  and  that  of  an  old  man  by  her  side.  Black 
chalk  on  brown  paper,  heightened  with  white.  On  the 
reverse,  the  study  of  a  nude  man. 


OF  CHICAGO. 


J9 


258.  DONATELLO,  Simone,  about  1430.  A  knight  kneeling  in 

prayer;  an  executioner  standing  by  his  side  holding  a 
large  sword.  Sebastian  tied  to  a  tree,  pierced  with  ar¬ 
rows.  Two  on  one  mount.  Pen,  slightly  washed. 

259.  DUGHET,  Gaspard,  called  Gaspre  Poussin.  1613 — 1675. 

The  Archangel  Michael.  This  drawing  has  been  mis¬ 
named  Peter  Breughel.  Drawn  with  the  brush  in 
Indian  ink,  on  grey  paper  heightened  with  white. 

260.  DUSART,  Cornelis.  1665—1704.  The  game  of  bowls.  In 

pen  washed  with  Indian  ink.  Signed. 

261.  YANDYCK,  Sir  Anthony.  1599 — 1641.  Sheet  of  studies. 

The  descent  of  the  Holy  Ghost.  In  pen,  on  both  sides  of 
the  paper.  Signed  From  the  Lankrink  collection. 

262.  Study  for  the  figure  of  the  dead  Christ  in  the  pict¬ 
ure  of  the  Entombment,  in  the  Louvre.  Black  chalk 
on  grey'paper,  heightened  with  white. 

263.  EYERDINGEN,  Albert  van.  1621—1675.  Landscape.  A 

waterfall,  and  two  men  about  to  cross  a  dilapidated 
wooden  bridge.  Indian  ink  on  coarse  paper  slightly 
tinted  and  heightened  with  white. 

264.  FARQUE,  Paul  Constantine  la.  1782.  The  Hague.  Pen 

washed  with  bistre  and  neutral  tint.  Signed. 

265.  FLORENTINE  SCHOOL.  An  interior,  with  an  ecclesiastic 

admonishing  a  nobleman.  Outlined  with  the  pen  and 
washed  with  Indian  ink.  Reference  to  the  two  princi¬ 
pal  figures  “  1  ”  and  “  2.” 

266.  FLORIS,  Franz.  1520 — 1570.  Six  designs  of  classical  sub¬ 

jects,  The  Rape  of  Helen,  etc.,  for  a  shield.  Pen  washed 
with  bistre.  From  the  collection  of  Charles  Rogers  and 
William^Sharp.  On  two  mounts. 

267.  FRENCH,  Seventeenth  Century.  Landscape.  A  study  of 

pollard  oaks.  Boldly  drawn  with  the  pen  and  shaded 
with  Indian  ink  and  heightened  with  white.  On  the 
reverse  an  outlined  view  of  the  open  country.  From 
the^collection  of  Earl  Spencer. 


20 


THE  ART  INSTITUTE 


268.  GELEE,  Claude  de  Lorraine.  1600—1682.  A  castle  on  a 
liill ;  three  figures  with  a  horse  on  the  right.  On  the 
reverse  a  round  tower  and  bridge.  Pen  and  Bistre. 

269,  Study  of  clouds.  In  bistre,  heightened  with  white. 

270.  GLAUBER,  Johann.  1646 — 1726.  The  Assumption  of  the 

Virgin.  Study  for  an  altar  piece.  Pen  washed  with 
Indian  ink  and  neutral  tint.  Signed. 

271.  GOLTZIUS,  Heinrich.  1558 — 1617.  An  allegorical  female 

figure,  holding  a  lozenge-shaped  shield,  with  seated 
Magdalen.  Pen  washed  with  bistre  on  brown  paper, 
heightened  with  white.  Signed. 

272.  Portrait  of  a  middle-aged  man  in  a  cloak  trimmed  with 
fur.  Signed  and  dated  H.  G.,  1603,  with  manuscript. 

273.  GRIMALDI,  Giovanni  Francesco,  called  II  Bolognese. 

1606 — 1680.  Classical  landscape  with  winding  stream, 
a  man  fishing  in  the  foreground.  Pen  and  bistre. 

274.  HERRERA,  Juan  de.  about  1570.  Richly  ornamental  de¬ 

sign  for  a  chimney  piece,  surmounted  by  a  coat  of  arms 
with  cupids  for  supports.  Pen  and  sepia. 

275.  HOBBEMA,  Meindert,  about  1650.  Landscape.  Water- 

mill  near  some  cottages,  with  row  of  tall  trees  on  the 
bank  of  the  stream  where  a  man  is  seated  fishing. 
Highly  finished  in  black  chalk. 

276.  HOLBEIN,  Hans.  1497 — 1543.  Study  of  a  cannon.  Boldly 

drawn  with  the  pen  and  Indian  ink  on  brown  paper 
and  slightly  tinted. 

277.  HOLLAR,  Wenzel  1607—1677.  “ Zu  Constatt”  W .  Hollar 

Delin.  1628,  et  sculpt.  1666.  Delicately  drawn  with  the 
pen,  and  tinted.  A  fine  and  beautiful  specimen  of  the 
master,  accompanied  by  the  etching  which  scarcely 
gives  half  the  composition,  and  that  greatly  reduced. 
(Parthey  757.) 

i  278.  “  Zu  Passaw.”  Signed  and  dated  1636.  With  etching 
(Parthey  745)  No.  7  of  a  set  much  reduced  from  the 
drawing,  and  the  name  over  the  castle  not  introduced. 


OF  CHICAGO. 


21 


279.  HONTHORST,  Gerard.  1592 — 1660.  Portrait  of  a  youth 

who  wears  a  broad  brimmed  hat.  Highly  finished  with 
black  chalk. 

280.  HUYSUM,  Jan  van.  1682 — 1749.  Landscapea.  A  wood  on 

the  outskirts  of  a  stream  where  a  man  and  woman  are 
walking  near  a  bridge.  Indian  ink. 

281.  JANSON,  Jan.  Study  of  cattle  and  sheep  grazing  in  a 

meadow.  In  color.  Signed  “Janson  1773.” 

282.  JARDIN,  Karel  du.  1625 — 1678.  Landscape.  River  scene 

— a  bridge  of  two  arches  leading  to  a  city  gate  with 
round  tower.  Indian  ink  tinted  with  bistre. 

283.  JORDAENS,  Jacob.  1594 — 1678.  Study  of  a  woman’s  head. 

Red  and  black  chalk. 

284.  KETWIG,  Jan  van.  1780 — 1818.  The  approach  to  a  Dutch 

city  with  handsome  gateway  and  bridge  crossing  the 
moat  on  which  boats  are  seen,  and  a  man  fishing.  In 
color. 

285.  LAIRESSE,  Gerard  de.  1640 — 1711.  Two  small  friezes 

on  one  mount.  The  triumph  of  Cupid.  Pen  and  In¬ 
dian  ink. 

286.  LANGENDYK,  Pieter.  1780 — 1818.  Landscape.  Country 

roadway  between  rows  of  trees,  a  man  driving  a  horse 
and  cart  under  them.  Black  chalk. 

287.  LAPI,  Niccolo.  1661 — 1732.  Allegory  of  the  marriage  of 

Alexandro  Caponi. 

288.  LE  BRUN,  Charles.  1619 — 1690.  Study  of  a  reclining 

figure  of  a  man,  foreshortened  from  the  head.  A  little 
drapery  over  the  right  arm  and  chest.  Red  chalk 
heightened  with  white  on  brown  paper. 

289.  LE  CLERC,  Sebastien.  1676 — 1763.  A  Roman  procession 

with  triumphal  car.  Pen  washed  with  Indian  ink. 

290.  LEYDEN,  Lucas  van.  1494 — 1533.  Titus  Manlius  ordering 

the  execution  of  his  son.  Drawn  with  the  brush  on 
paper  prepared  with  distemper,  color  brightened  with 
white. 


22 


THE  ART  INSTITUTE 


291.  LICINIO,  Giovanni  Antonio,  Called  II  Pordenone.  1483 — 

1540.  The  entombment.  In  tempera. 

292.  LOGTEREN,  Ignatius  van.  Infant  Bacchantes.  The  one 

on  the  right  riding  a  goat.  Pen  and  bistre,  signed. 

293.  LORO,  Bartolomeo.  Design  for  a  lunette  of  rich  orna¬ 

mentation  and  figures  with  Cupids  supporting  a  shield 
of  arms.  Pen  and  bistre,  tinted. 

294.  MAES,  Dirk.,  1656 — 1715.  Two  horsemen,  one  of  them  at 

full  gallop.  Pen  washed  with  bistre. 

295.  MARATTI,  Carlo.  1625 — 1713.  The  Madonna  and  Child. 

In  distemper  color,  and  varnished. 

296.  THE  MASTER  MW.  1581.  German.  David  and  Abigail. 

Pen  and  neutral  tint.  Signed  and  dated. 

297.  MILLET,  Jean  Francois.  Landscape.  Females  washing 

their  linen  in  the  stream  in  the  foreground.  In  color. 

298.  LEMOINE,  Francois.  1688 — 1737.  Venus  attended  upon 

by  Cupids.  Red  chalk. 

299.  MOLA,  Giambattista.  1618 — 1661.  Gate  of  Fort  Urban 

near  Bologna.  Pen,  washed  with  bistre. 

300.  A  triumphal  arch,  with  equestrian  statue  of  a  warrior 

and  trophies  of  arms.  Pen,  washed  wdth  bistre. 

301.  A  triumphal  arch  surmounted  by  the  cross,  keys  and 
papal  arms  beneath.  Pen,  and  washed  with  neutral  tint. 

302.  A  triumphal  arch  surmounted  by  the  papal  arms  and 

blank  shield  between  two  statues.  Pen  and  bistre. 

303.  MURILLO,  Bartolome  Esteban.  1613 — 1682.  The  infant 

St.  John  caressing  the  lamb.  Pen  washed  with  bistre. 

304.  MAZZUOLI,  Francesco  called  Parmigianino.  1503 — 1540. 

The  beheading  of  two  saints,  a  Roman  Emperor  sitting 
in  judgment  on  the  left.  Drawn  with  the  pen  on  paper 
prepared  with  color  and  washed  wdth  bistre  and 
heightened  with  white.  “  Bought  at  Rome,  A.  D.  1774 
out  of  the  Pamphiti  Palace,  No.  40.  ”  See  Chiaro-os- 
curo  print  after  Parmigianino. 

305.  Study  for  the  figure  of  Bolonna.  Red  chalk.  From  the 
collection  of  Jonathan  Richardson  and  Richard  Cos¬ 
way. 


OF  CHICAGO. 


23 


300.  MAZZUOLI,  Francesco,  called  Parmigianino.  Bolonna 
in  her  car  drawn  by  Griffins.  Pen  and  bistre. 

307.  Two  drawings  on  one  mount.  Study  for  a  hand  in  red 

chalk  and  a  figure  of  Cupid  in  pen.  Sheet  of  studies  of 
Cupids  reclining  on  clouds.  Highly  finished  in  red 
chalk.  From  the  collection  of  Richard  Cosway. 

308.  The  dead  king  and  his  sons.  Pen  washed  with  bistre. 

From  the  collection  of  Earl  Spencer. 

309.  Study  for  the  nude  figure  of  a  youth  seen  from  behind 

and  turned  a  little  to  the  right.  Slightly  outlined  with 
bistre,  the  outstretched  arm  and  face  finished  with 
cross  hatching.  Pen., 

310.  Study  of  the  nude  figure  of  a  male  model  seen  from  the 

back.  Outlined  with  the  pen  and  finished  with  black 
chalk.  From  the  collection  of  John  Barnard. 

311.  Study  of  heads.  Pen  and  bistre  on  paper  tinted  with 

Indian  ink. 

312.  Study  of  foliage  on  a  bank  and  the  trunks  of  some  small 

trees.  Pen  and  bistre  heightened  with  white  on  grey 
paper. 

313.  Study  for  the  pediment  of  a  monument,  showing  half  of 

the  design  excepting  the  oval  tablet  in  the  centre.  Pen 
washed  with  bistre  and  heightened  with  white.  From 
the  collection  of  Jonathan  Richardson. 

314.  PALAMEDES,  Anton.  1804 — 1880.  Whole  length  figure  of 
a  comedian  with  right  arm  outstretched.  Black  and 
red  chalk  on  light  brown  paper  heightened  with  white. 

315.  Another  similar  figure  of  an  actor,  standing  with  hands 
together  holding  a  purse.  Black  and  red  chalk  on 
light  brown  paper  heightened  with  white.  Signed. 

316.  PASSORI,  Bernardino.  1580.  Head  of  the  Madonna. 

Highly  finished  in  red  chalk. 

317.  PESARO,  Simone  Cantarini  da.  1612 — 1648.  Study  for  the 

head  of  the  Madonna.  Delicately  rendered  in  red 
chalk.  From  the  Landrink  and  Cosway  Collections. 

318.  PILLEMENT,  Jean.  1728 — 1808.  The  snow  storm. 

Highly  finished  in  color. 

319.  Landscape  Traveler  seated  under  a  tree,  accosted  by  a 
beggar.  Black  chalk  finished  with  Indian  ink  Signed 


24 


THE  ART  INSTITUTE 


320.  PIPPI,  Giulio;  called  Giulio  Romano.  1492 — 1546.  One  of 

the  Evangelists,  St.  Matthew.  Drawn  with  the  brush  in 
bistre  on  brown  paper  heightened  "with  white. 

321.  PROCACCINI,  Camillo.  1546 — 1626.  Susannah  and  the 

Elders.  Black  chalk  on  grey  paper  heightened  with 
white. 

322.  QUELLINUS,  Jan  Erasmus.  1629 — 1715.  The  Sacrifice  at 

Lystra.  Indian  ink  heightened  wdth  white.  Signed. 

323.  A  concert.  The  people  assembled  under  the  arched  win¬ 
dows  of  a  house.  Black  chalk  washed  with  Indian  ink 
and  sepia. 

324.  RADEMAKER,  Abraham  1675 — 1735.  A  gateway  through 
which  a  plantation  of  trees  is  seen,  with  a  harbor  in  the 
distance.  Pen  washed  with  neutral  tint. 

325.  Interior  of  a  court,  approached  by  steps  with  vases  and 
flowers — a  bay  window  and  rows  of  trees  in  the  back 
ground.  Pen  and  red  chalk  wTashed  with  neutral  tint. 

326.  REMBRANDT  van  RYN.  1606-1669.  Tobias  and  the 
Fish.  Pen  and  bistre. 

327.  The  Good  Samaritan  leading  the  wounded  traveler  down 

a  bank  to  the  donkey.  Pen  and  bistre. 

328.  A  sleeping  herdsman  seated  upon  a  bank  under  a  large 

tree,  about  to  be  struck  down  by  a  man  by  his  side 
whose  sword  is  uplifted  for  the  purpose.  Pen  washed 
with  bistre  and  neutral  tint. 

329.  RENI,  Guido.  1575 — 1642.  Studies  of  two  cupids  holding 
drapery.  Pen  and  bistre  with  a  little  neutral  tint. 

330.  Two  similar  figures  but  treated  in  a  bolder  manner. 
Pen  and  bistre  with  a  little  neutral  tint. 

331.  ROOS,  F.  P  de.  1490 — 1530.  Two  drawings  upon  one 

mount,  both  in  red  chalk.  Study  for  the  Madonna  and 
Child  who  is  sleeping.  Signed  ‘  F.  P.  De  Roos  F .’ 
The  Holy  Family,  signed, 4 F.  P.  DeRoos  Invent  ’  on  the 
base  of  a  column. 

332.  ROOTWYK,  J.  A  sea  piece  with  various  vessels,  a  war 

frigate  on  the  right  with  boats  coming  ashore,  and  a 
smack  near  where  four  men  of  wrar  are  waiting.  Pen 
and  bistre. 


OF  CHICAGO. 


25 


333.  ROSA,  Salvator.  1615 — 1673.  Dead  Christ  with  Marys 

bewailing.  Pen  and  bistre. 

334.  RUBENS,  Peter  Paul.  1577 — 1640.  An  academical 

study  of  a  seated  man  with  his  arm  behind  him.  Black 
chalk . 

335.  Head  of  a  boy  blowing  a  pipe.  Highly  finished  with 
black  chalk.  Signed. 

336.  RYCKAERT,  David.  1615—1677.  Allegorical  title,  with 

figure  of  Mars  standing  between  palm  trees,  a  portrait 
on  his  shield,  a  flaming  sword  in  his  left  hand.  Pen  and 
wrashed  with  bistre.  From  the  Landrink  Collection. 

337.  SALVIATI,  Francesco  Rossi  da  ;  called  II  Salviati.  1510 — 

1563.  A  Scriptural  subject,  men  digging,  etc.  Pen 
washed  with  Indian  ink  and  heightened  with  white. 

338.  Study  for  the  conversion  of  Paul.  Pen  and  bistre. 

339.  SALVIATI,  Guiseppe.  1530 — 1585.  Roman  subject  with 

fainting  female.  Pen  and  sepia  on  grey  paper  height¬ 
ened  with  white. 

340.  SCHELLINKS,  Willem.  1632 — 1678.  Landscape.  Distant 

view  of  a  chateau  surrounded  by  pine  trees  and  ap¬ 
proached  by  a  meadow  and  flooded  stream  which  takes 
up  nearly  the  whole  of  the  foreground.  Black  chalk 
washed  with  sepia. 

341.  SCHOOL  OF  CARACCI.  about  1600.  Two  studies,  one  on 

each  side  of  a  sheet  of  paper.  The  standing  draped 
figure  of  a  young  handsome  woman  looking  at  herself 
in  a  mirror.  A  second  female  in  charge  of  an  infant 
by  the  side  of  a  pedestal.  Boldly  drawn  in  pen  and 
sepia. 

342.  SPRANGER,  Bartholomeus.  1546 — 1625.  The  flight  into 

Egypt.  Pen  and  bistre  waished  with  neutral  tint.  From 
the  collection  of  John  Barnard  Granville,  and  Sir  A. 
Westcombe,  Bart. 

343.  STRADANUS,  Johannes.  1536—1605.  His  own  portrait. 

An  oval  medallion  in  an  ornamental  frame. 


2  6 


THE  ART  INSTITUTE 


344.  SWANEVELT,  Herman  van.  1620—1690.  A  roadway- 
through  a  village  with  round  tower  on  the  right. 
Groups  of  figures  in  the  foreground.  Pen  and  bistre 
slightly  tinted. 

345.  Landscape  with  extensive  ruins  on  an  eminence  to  the 
right  in  the  middle  distance.  Diana  and  Acteeon  in  the 
foreground.  Indian  ink. 

346.  TADDEO  ZUCCARO.  1529 — 1566.  Two  saints,  one  of  them 

playing  the  harp.  In  black  and  red  chalk. 

347.  TEMPESTA,  Antonio.  1555 — 1630.  A  lion  hunt.  1581. 

Pen  and  bistre. 

348.  TENTERS,  David,  The  Younger.  1610—1690.  Study  of 

three  horses  in  harness  attached  to  a  wagon.  In  black 
chalk.  On  the  reverse  a  landscape  with  lake  and 
range  of  hills  In  Indian  ink. 

349.  VANDERMANN,  J.  About  1600.  A  lake  scene  with  moun¬ 

tainous  distance.  Sepia  on  brown  paper  heightened 
with  white. 

350.  An  old  fortification  on  the  river  side.  Sepia  on  brown 
paper  heightened  with  white.  Signed. 

351.  VANNINI,  Ottavio.  1586 — 1673.  Two  small  scriptural 
subjects.  Studies  in  oil  colors. 

352.  The  flight  of  Joseph.  In  red  chalk. 

353.  YANNUCCHI,  Andrea,  called  Andrea  Del  Sarto.  1487 — 

1531.  Sheet  of  studies  for  “ La  Madonna  del  Sacco” 
Red  chalk. 

354,  VANDEVELDE,  Willem.  1633—1707.  A  stiff  breeze  with 

vessels  under  sail.  Indian,  ink.  From  the  collection  of 
P.  H.  Landrink. 

355.  A  stiff  breeze  with  vessels  under  sail.  Slight,  in  pen. 

356.  Jetty  with  fishing  smacks  ashore;  a  man-of-war  in  the 

distance.  Black  chalk  washed  with  sepia. 

357.  Fishing  smacks  arranged  along  the  side  of  a  jetty.  In¬ 

dian  ink.  Signed. 

358.  A  fleet  at  anchor.  In  pen. 


OF  CHICAGO. 


27 


359.  VERKOLIE,  Nicholas.  1673 — 1746.  A  man  in  fancy  dress 

standing  and  holding  out  a  wine  cup  with  left  hand. 
Pen  and  bistre. 

360.  YECELLIO,  Tiziano.  (Titian.)  1477 — 1576.  Landscape. 

A  Venetian  city  in  the  distance,  a  boy  holding  lamb 
in  the  foreground.  Red  chalk.  Engraved. 

361.  VIGNON,  Claude.  1590 — 1670.  “  Sibylla  Cumana ,”  A  care¬ 

ful  study  in  red  chalk.  Signed. 

362.  VINCI,  Leonardo  da.  1452 — 1519.  Study  of  two  heads  of 

females.  Delicately  drawn  with  the  pen  in  pale  bistre. 

363.  WAEL,  Cornelius  de.  1594 — 1662.  The  ball  in  the  cabaret. 

Pen  and  red  chalk  washed  with  Indian  ink.  Signed. 

364.  WATERLOO,  Antoni.  1618 — 1662.  Grand  study  of  forest 

scenery.  Drawn  with  the  pen  and  washed  with  Indian 
ink  and  sepia. 

365.  Forest  scenery. 

366.  WEENIX,  Jan.  1644 — 1719.  Battle  piece.  The  general 

mounted  in  front,  near  a  battery  of  heavy  artillery.  In 
color. 

367.  WEERINGEN,  Cornelis  Claase  van.  Pan  and  Syringa. 

Pen  and  Indian  ink.  Study  for  David  and  Bathsheba. 
Pen  washed  with  Indian  ink. 

368.  Three  subjects  on  one  mount.  Vulcan,  Venus  and 
Cupid. 

Sea  Nymphs  with  youth  bearing  fish. 

Cupid  and  Psyche.  Pen  and  ink. 

369.  WOUVERMAN,  Philip.  1620 — 1668.  Promenade  in  a  park 
attached  to  a  palace.  A  mounted  cavalier  addressing  a 
lady  in  the  foreground  near  a  fountain.  Attendants 
near  are  carrying  fowling  pieces  Pen  and  Indian  ink 
slightly  washed  with  color.  Inscribed,  1690. 

370.  Halt  of  a  hunting  party  near  a  castle.  Black  chalk, 

371.  WYN ANTS,  Jan.  1600 — 1678.  A  classical  landscape.  River 
scene  with  the  ruins  of  a  temple  on  the  right.  A  herds¬ 
man  and  his  wife  with  cattle  in  foreground.  Pen 
washed  with  Indian  ink  heightened  with  white. 

372.  Landscape — a  winding  road  leading  from  the  fore¬ 
ground  towards  a  distant  mountain.  Black  and  red 
chalk  on  warm  toned;paper. 


28 


THE  ART  INSTITUTE 


373.  ZAMPIERI,  Domenico,  called  1l  Domenichino.  1581 — 1641. 

Study  for  Juno  in  her  chariot.  Black  chalk  on  grey 
paper  heightened  with  white.  Signed. 

374.  ZEEMAN,  R.  born  1612.  A  boat  on  the  bank  of  a  river 

A  group  of  figures  assembled  near.  Pen  washed  with 
Indian  ink. 

375.  ZUCCARO,  Taddeo.  1529—1566.  Martyrdom  of  a  female 

saint.  Black  chalk. 

376.  Old  men  with  harp  and  tablet. 

377.  ZURBARAN,  Francisco.  1598—1662.  Study  of  a  work¬ 
man  looking  over  a  parapet  to  a  companion  whose 
hands  only  are  seen.  Red  and  black  chalk  on  brown 
paper  heightened  with  white. 


OF  CHICAGO. 


29 


COLLECTION  OF  AUTOTYPES. 


This  Collection  is  the  gift  of  Wirt  D.  Walker. 


The  works  are  Permanent  Carbon  Photographs, 
known  as  “  Braun’s  Autotypes  ”,  valuable  because  they 
are  direct  reproductions  of  great  originals. 


THE  CENTURY  COLLECTION. 


This  collection  comprises  108  original  drawings  for  The 
Centvry  and  St.  Nicholas,  by  many  artists.  It  is  a  permanent 
loan  from  The  Century  Company,  New  York. 

The  Art  Institute  takes  this  opportunity  to  make  grateful 
acknowledgements  of  the  liberality  which  has  prompted  The  Cen¬ 
tury  Company  to  place  this  collection  here  as  a  permanent  loan. 


THE  ELBRIDGE  G.  HALL 

COLLECTION  OF  SCULPTURE. 


This  Collection  occupies  Rooms  II,  III,  VI  and  VII,  and  is  the  gift  of  Mrs.  A.  M.  Hall  Ellis. 


The  works  have  been  selected  with  care  in  the 
museums  of  Europe,  as  illustrative  examples  of  sculp¬ 
ture  from  the  earliest  times  to  the  present,  based  upon 
“  The  History  of  Ancient  Sculpture,”  bv  Mrs.  Lucy  M. 
Mitchell.  '  " 

Additional  selections  are  on  the  way  from  Europe, 
and  the  works  now  in  the  galleries  constitute  only  a 
portion  of  the  collection  provided  for  by  the  liberality 
of  the  donor. 

The  collection  is  arranged  in  general  chronological 
order,  and  all  the  objects  are  marked. 


3° 


THE  ART  INSTITUTE 


THE  E.  B.  WASHBURNE  COLLECTION. 

This  Collection  occupies  Room  VII,  main  floor,  and  is  loaned  by  Hempstead  Washb  me,  Esq. 


It  includes  the  well-known  collection  of  historical  portraits 
and  other  pictures  belonging  to  ex-Minister  E.  B.  Washburne.  It 
contains  a  two-thirds  length  portrait  of  King  William  of  Germany, 
presented  to  Mr.  Washburne  by  the  king  himself,  and  large  oil 
portraits  of  Bismarck,  Gambetta,  Lord  Lyons,  Thiers,  Franklin, 
Mr.  and  Mrs.  Washburne;  and  many  lesser  objects  of  interest. 

CATALOGUE: 

1.  Portrait  of  King  William,  of  Germany,  painted  by  Biilow,  the 

court  painter,  by  the  King’s  order,  and  presented  by  him 
to  Mr.  Washburne  (oil). 

2.  Portrait  of  Bismarck  (oil). 

Q.  P.  A.  Healy . 

3.  Portrait  of  Gambetta  (oil). 

G.  P.  A.  Healy. 

4.  Portrait  of  Lord  Lyons  (oil). 

G.  P.  A.  Healy. 

5.  Portrait  of  Thiers  (oil). 

G.  P.  A.  Healy. 

6.  Ideal  Portrait  of  Benjamin  Franklin  (oil). 

dPIarmenon. 

7.  Portrait  of  E.  B.  Washburne  (oil). 

G.  P.  A.  Healy. 


OF  CHICAGO. 


31 


8.  Portrait  of  Mrs.  E.  B.  Washburne  (oil). 

G.  P.  A.  Healy. 

9.  Portrait  of  Israel  Washburne,  Governor  of  Maine  (oil). 

10.  Portrait  of  C.  C.  Washburne,  Governor  of  Wisconsin  (oil). 

11.  Portrait  of  Edward  Coles  (steel  engraving). 

12.  Continental  Commission  issued  to  Samuel  Benjamin,  Ensign, 

signed  by  John  Hancock,  January  1,  1777. 

13.  View  of  City  of  Galena,  Ill ,  in  Early  Times  (oil). 

14.  Portrait  of  G.  P.  A.  Healy,  Artist  (wood- cut). 

15.  Portrait  of  Lord  Chief  Justice  Coleridge  (steel  engraving). 

16.  Portrait  of  John  Brown  (copper  plate  engraving). 

17.  A  Day  of  1792. 

18.  Death  of  Mirabeau  (wood-cut). 

19.  Portrait  of  Mirabeau  (wood-cut). 

20.  M.  Thiers,  the  last  picture  ever  taken  of  him. 

21.  Portrait  of  John  Quincy  Adams,  with  his  autograph  (steel 

engraving). 

22.  French  Assembly  at  the  trial  of  Louis. 

23.  French  Map  of  Yorck  (water  color). 

24.  English  Map  of  York  (water  color). 

25.  Amendment  to  the  United  States  Constitution  abolishing 

Slavery,  bearing  the  autographs  of  many  distinguished 
Senators  and  Representatives. 

26.  A  Fruit  boy  (oil). 

27.  Bismarck,  with  autograph  (lithograph). 

28.  Reception  to  Gen.  Grant,  Galena,  Ill.,  August  18,  1865  (photo¬ 

graph). 


32 


THE  ART  INSTITUTE 


29.  Gen.  Grant  and  Staff  at  Cole  Harbor,  Va.,  May,  1865  (photo¬ 

graph). 

30.  Officers  of  the  Washburne  Leadmine  Regiment,  the  Forty- 

fifth  Illinois  (photograph). 

31.  Prairie  Fire  on  the  Upper  Missouri  (oil). 

George  Gatlin. 

32.  The  Falls  of  St.  Anthony  in  1834,  from  nature  (oil). 

George  Gatlin. 

33.  Meeting  of  Black  Hawk  and  and  the  Prophet  on  the  present 

site  of  Prophetstown,  Ill.,  painted  from  life  in  1832  (oil). 

George  Gatlin. 

34.  Four  Winnebago  Chiefs  (oil). 

35.  Winnebagos  playing  checkers  (oil). 

( Charles  Reas,  St.  Louis). 

* 

36.  Thomas  Benton,  with  note  by  his  daughter,  Mrs.  Boilleau 

(photograph). 

37.  Thomas  Jefferson  (oil). 

Russell. 

38.  Ismael,  Khedive  of  Egypt,  Cairo,  1876,  with  autograph  (photo¬ 

graph). 

39.  Photograph  from  a  letter  by  Benjamin  Franklin. 


OF  CHICAGO. 


33 


OIL  PAINTINGS,  ETC. 


Numbers  marked  with  a  Star  (* *)  are  for  Sale. 

ARTIST.  TITLE.  LOANED  BY. 

1.  F.  K.  M.  Rehn.  J.  W.  Ellsworth,  Chicago 

Sunshower  on  the  Atlantic  Coast. 

*  2.  Johannes  Gelert.  J.  Gelert,  “ 

Children  Building  a  House. 

3.  Emile  VanMarcke,  C.  H.  Hazeltine,  Philadelphia 

Grazing. 

4.  G.  Haquette.  S.  S.  Collins,  New  York 

Marine — A  Rough  Sea. 

5.  Ch.  Jacque.  C.  H.  Hazeltine,  Philadelphia 

Sheep  and  Landscape. 

6.  Wm.  Bliss  Baker.  J.  W.  Ellsworth,  Chicago 

Solitude. 


*  7.  Annie  C.  Shaw. 


Dr.  S.  W.  Shaw, 

The  Russet  Tear. 


it 


8.  Wm.  T.  Dannat.  Property  of  Art  Institute 

Study — Head  of  Aragonese  Smuggler. 

to 

9.  Walter  Shirlaw.  Property  of  Art  Institute 

Portrait  of  the  Artist. 

10.  Ch.  Sprague  Pearce.  J.  A.  Lowell,  Boston 

Returning  from  Pasture. 

11.  Albert  Bierstadt.  Albert  Crosby,  Chicago 

The  Tosemite  Valley. 


34 


THE  ART  INSTITUTE 


ARTIST.  TITLE.  LOANED  BY. 

*12.  Edith  S.  Sackett.  Edith  S.  Sackett,  Brooklyn 

Study  of  Young  Girl. 

13.  Daniel  C.  French.  Daniel  C.  French,  Concord,  Mass. 

Ideal  Statue  of  John  Harvard. 

14.  Thos.  Sully.  Miss  E.  M.  Cole,  Culpeper,  Ya. 

Portrait  of  Chief  Justice  John  Marshall. 

15.  David  Johnson.  J.  W.  Ellsworth,  Chicago 

Along  the  River — Old  Oaks. 

*16.  Annie  C.  Shaw.  Dr.  S.  W.  Shaw,  “ 

Old  Granary  Burying  Ground. 

*17.  Geo.  Fuller.  Dr.  P.  P.  Wells,  Brooklyn 

Head  of  Young  Girl. 

18.  Harry  Thompson.  Ellen  K.  Baker,  Paris 

A  Farm  in  Picardy . 

19.  G.  P.  A.  Healy.  Property  of  Art  Institute 

Armenian  Fathers. 

20.  Edward  Moran.  Ch.  W.  Wheeler,  Chicago 

Sunset  at  Sea. 

21.  Wm.  T.  Dannat.  Property  of  Art  Institute 

A  Sacristy  in  Aragon. 

*22.  Ellen  K.  Baker.  Ellen  K.  Baker,  Paris 

An  Idyl. 

*23.  Harry  Brown.  C.  H.  True,  Chicago 

A  Shipwreck  near  Portland ,  Me. 

24.  Wm.  T.  Dannat.  Property  of  Art  Institute 

Still  Life — Study  of  Fruit. 

25.  G.  Fluggen.  W.  A.  Havemeyer,  Chicago 

The  Orphan. 


OF  CHICAGO. 


35 


ARTIST. 


TITLE. 


LOANED  BY. 


26.  David  Neal.  Property  of  Art  Institute 

Interior  of  St.  Marks. 

27.  J.  M.  W.  Turner. 

Landscape. 

28.  Ch.  Sprague  Pearce.  Property  of  Art  Institute 

The  Beheading  of  John  the  Baptist. 

*29.  Walter  Blackman.  Walter  Blackman 

Oriental  Head. 

30.  Alexander  Harrison.  Property  of  Art  Institute 

Les  Amateurs. 

31.  H.  H.  Zearing.  Dr.  J.  R.  Zearing 

Bronze  Portrait  Medallion. 

*32.  Annie  C.  Shaw.  Dr.  S.  W.  Shaw,  Chicago 

A  Rainy  Day. 

33.  Melani  Cav.  Francesco.  John  B.  Miller,  “ 

The  Vision  of  St.  Bernard. 

34.  Daniel  C.  French.  W.  M.  R.  French,  “ 

Bust  of  Ralph  Waldo  Emerson. 

35.  Bolognese  School.  J.  E.  Whittlesey,  “ 

Saturn  Devouring  his  Children. 

36.  Ch.  Elliott.  C.  C.  Chaplin,  “ 

Portrait  of  Mr.  Hewitt. 

37.  Bolognese  School.  J.  E.  Whittlesey,  “ 

Mars. 

38.  J.  G.  Brown.  Ch.  W.  Wheeler,  “ 

Figure  of  Boy. 

39.  Howard  Kretschmar.  Howard  Kretschmar,  “ 

Medallion  Portrait  of  Oen.  Logan. 


THE  ART  INSTITUTE 


36 

ARTIST.  TITLE.  LOANED  BY. 

40.  Howard  Kretschmar.  Howard  Kretschmar,  Chicago 

Medallion  Portrait  of  Mrs.  Logan. 

41.  Howard  Kretschmar.  Howard  Kretschmar,  “ 

Portrait  Bust  of  Ferd.  Jones. 

42.  Howard  Kretschmar.  Howard  Kretschmar,  “ 

Medallion  Portrait  of  Miss - ,  St.  Louis. 

43.  Johan  Peter  Molin.  Property  of  Art  Institute 

Group — The  Belt- Bucklers. 

*44.  Johannes  Gelert.  J.  Gelert,  Chicago 

Bust — Antonio. 

*45.  Johannes  Gelert.  J.  Gelert,  “ 

Bronze  Statuette — Theseus. 

46.  L.  W.  Volk.  Academy  of  Sciences,  “ 

Marble  Bust  of  Z.  Grover. 

47.  L.  W.  Volk.  Academy  of  Sciences,  “ 

Marble  Bust  of  J.  W.  Foster. 

*48.  Johannes  Gelert.  J.  Gelert,  “ 

Bust — Adelaide. 


